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Shaping and Re-Shaping the Historical and Fictional Character of Richard

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Shaping and Re-Shaping the Historical and Fictional Character of Richard Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue e Letterature Europee e Americane Classe LM-37 Tesi di Laurea Shaping and Re-shaping the Historical and Fictional Character of Richard III Relatore Laureanda Prof. Rocco Coronato Laura Raniolo n° matr.1086902 / LMLLA Anno Accademico 2015 / 2016 To Ada, following in your footsteps I II TABLE OF CONTENTS ILLUSTRATIONS..................................................................................................... 3 INTRODUCTION ..................................................................................................... 5 1. RICHARD III AS HISTORICAL CHARACTER ............................................. 9 1.1. RICHARD III: A PROFILE IN CONTEMPORARY HISTORY ................ 9 1.1.1. A biography: Richard, Duke of Gloucester (1461-1483) ........................... 9 1.1.2. A biography: King Richard III (1483-1483) ............................................ 13 1.2. THE CASE OF THE CAR PARK IN LEICESTER ................................... 17 1.2.1. The archaeological excavation in Greyfriars ............................................ 18 1.2.2. The study of the bones and their identification ........................................ 21 1.2.3. The Richard III Society ............................................................................ 28 1.2.4. A portrait of Richard III ........................................................................... 30 1.3. CHONICLES AT THE TUDOR TIME ...................................................... 32 1.3.1. Polydore Vergil’s Anglica Historia & Thomas More’s The History of King Richard III .......................................................................................................... 32 1.3.2. The rewriting of Thomas More by Edward Hall, The Union of the Two Noble and Illustre Families of Lancastre and Yorke .......................................... 50 2. SHAKESPEARE’S RICHARD III ..................................................................... 59 2.1. DATE OF COMPOSITION AND SOURCES ............................................... 59 2.1.1. Shakespeare and More: building the myth, analogies and differences..... 61 2.2. RICHARD’S RELATIONSHIP WITH THE OTHER CHARCATERS IN SHAKESPEARE .................................................................................................... 68 2.2.1. Richard & Buckingham ............................................................................ 68 2.2.2. Richard & the Women .............................................................................. 73 2.2.3. Richard & Richard .................................................................................... 86 1 2.2.4. Richard & the Audience ............................................................................ 93 3. RICHARD III: THE CONTEMPORARY RETELLING ................................ 97 3.1. THE HISTORICAL NOVEL AND POSTMODERNISM.............................. 97 3.2. HISTORICAL NOVELS ABOUT RICHARD III AND OTHER MEDIAS 101 3.3. TWO CASE STUDIES: SHARON PENMAN’S THE SUNNE IN SPLENDOUR AND PHILIPPA GREGORY’S THE COUSINS’ WAR ............... 104 3.3.1. The style of the novels: the problem of writing fiction about history ..... 106 3.3.2. The relationships with the historical sources and the chronicles of Tudor time .................................................................................................................... 111 3.3.3. A glimmer of magical realism in Gregory’s novels ................................ 116 3.3.4. From a woman’s point of view ............................................................... 118 3.3.5. Richard in Penman’s The Sunne in Splendour and Gregory’s The Cousins’ War .................................................................................................................... 120 CONLUSION .......................................................................................................... 127 BIBLIOGRAPHY ................................................................................................... 131 APPENDIX: RIASSUNTO IN ITALIANO ......................................................... 135 2 ILLUSTRATIONS Plate 1. Grayfriars excavation, Skeleton 1 in the grave .......................................... 54 Plate 2. Skeleton of Richard III ............................................................................... 55 Plate 3. Richard III, oil on panel, English School, 1520. Royal Collection Trust .. 56 Plate 4. Richard III, oil on panel, English School, sixteenth century, Society of Antiquaries of London ............................................................................................... 57 3 4 INTRODUCTION In summer 2013 I read a newspaper article about the discovery of some English King’s bones in a car park in Leicester. The King was the last of his dynasty, Richard Plantagenet, known as Richard III. This was my first official encounter with Richard and his story. I researched the historical character and I found very conflicting versions about his life: according to one version – the oldest one – Richard has been a tyrant, who usurped the throne of his brother’s son and imprisoned the boy and his younger brother in the Tower, then the two boys disappeared, (according to someone Richard killed them). In his way to the throne, he committed a series of crimes. This version of history accuses Richard to be not only a usurper, but also a regicide, sometimes a fratricide and a uxoricide. The other version proposes an opposite vision of the historical character: Richard never committed any of the crimes he had been accused for, actually he was a just man and a just King. He took the throne to protect England, remembering how the country had been torn during the kingdom of a children king. Almost at the same time, BBC, in collaboration with Starz, proposed a period drama set during the Wars of the Roses, The White Queen. In the television show there was a character, a young boy, brother of King Edward IV. It took me a little time to understand that that Richard was the same of the bones in the car park in Leicester, for BBC suggested another interpretation of the same character. In less than a month, I had three different versions for the same character, a man, a king from the past. So, which one was the true Richard? This dissertation tries to find an answer to this question. To do so, I propose a journey in history and fiction to dig and discover – as the archaeologists did with the bones – the character of Richard. I will start by providing a historical portrait of the character, focusing on Richard’s career as Duke of Gloucester and Lord of the North. It is a habit, indeed, to consider mainly Richard’s kingdom (which lasted only two years) and to define the character as a tyrant. Instead, he proved himself a good and a just politician as governor of the North. It is not strange to imagine him to be a good king as well, but a king who had to face many difficulties, which the posterity judged under a negative point of view. One of the greatest accusation moved to Richard was that he murdered his nephews after he imprisoned them in the Tower of London. I will investigate the case 5 of the Princes to find new culprits of the crime and to try to clear Richard’s reputation, if this is possible. When someone decides to analyse the history of the last Plantagenet King, what is truly striking is the strength and the efforts that the Tudor propaganda used to blacken Richard reputation; under some aspects the story of the Princes may seem rather a political construction by the Tudor than real history. Many rumours about Richard have been discredited after the discovery of the bones in Leicester in 2012. First of all, the study of the DNA of the remains allowed their recognition as Richard’s. Then, thanks to the collaboration of experts from different fields of study, it was possible to obtain much information about his life and health. The study on the bones determined precisely how Richard died at Bosworth. The most evident detail was that Richard suffered of scoliosis, but his physical appearance was not influenced by it, as claimed by tradition. The greatest contribution in darkening the character was given by the chroniclers of Tudor time, and particularly by Polydore Vergil and Thomas More. In my dissertation I will analyse Vergil’s chronicle, which was one of the first authorized accounts about Richard III, comparing his work with the more popular one by More. The two authors show some connections, but also discrepancies. They might have influenced each other works; yet, Thomas More should be considered the true creator of the myth of the tyrant Richard III, a monster rather than a man. In his record, Richard is described as a deformed man, with an evil and deviant attitude, completely incapable of compassion, and for this reason not belonging to mankind. During the Middle Ages there was the belief that the physical appearance was the reflection of the soul and the character. Because of this, Richard became a prototype of pure evil. For centuries he has been a great villain – perhaps one of the greatest – and his charm as reputation as villain still survives. The merit for Richard’s great success as dark villain must be ascribed to William Shakespeare and his history play. Still nowadays Richard III is often represented on stage. The Shakespearean character derives mostly from More’s account. The playwright conferred him a sophisticated psychological profundity,
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